TVS-2 2065 438+04, China Southern Television Station, won the bronze prize in the exhibition of the 50th anniversary of the establishment of diplomatic relations between China and France.
20 13 won the "Chairman's Special Award" in Florence.
20 13 was selected as the "Florence Contemporary Art Biennale" in Italy.
20 12 "17th Guangzhou Art Fair" Exhibition Guangzhou Baiyun International Conference Center
20 12 "West Tacheng Wharf Exhibition of Pearl River New Town" Guangzhou Pearl River New Town
20 12 "dancing colors-the first joint exhibition of professional oil painters in Zizaitang" Guangzhou Zizaitang
2065438+02 "2065438+02 China Contemporary Oil Painting Landscape Joint Exhibition" RSD Three-person roving exhibition of professional oil painters (the eighth time) Shanghai Huisheng Art Center.
20 12 roving exhibition of "preacher" RSD professional oil painters (7th) Daxiangshan Art Museum in Zhuhai.
20 12 "new China aestheticism professional oil painters joint exhibition" RSD professional oil painters three-person roving exhibition (the sixth time)
Baiyun International Convention Center Art Fair
20 12 "Perfect, Beautiful and Pure" RSD Three-person roving exhibition of professional oil painters (the fifth time)
Guangzhou Huinengge Contemporary Art Space
20 1 1 year "Lao Zi Return" RSD professional oil painter three-person roving exhibition (the fourth time)
16 Guangzhou Art Fair
20 1 1 year "Lao Zi Return" RSD professional oil painter three-person roving exhibition (the third time)
Guangzhou Hui Jing New City
20 1 1 Year "National Rhyme and Soul" RSD Three-person Tour Exhibition of Professional Oil Painters (Second) Art Guangdong Information Times
20 1 1 Year "Different Circumstances" RSD Three-person Tour Exhibition of Professional Oil Painters (the first time) Dongguan Oasis Contemporary Art Space
20 10 Sino-Korean Art Exchange Exhibition Korean Embassy in Beijing
Sporadic Records in the Writing Process of Lao Zi Return
Text: Liu Nian
Every time I turn on the TV or computer and open the newspaper, there are always negative reports of moral decay and indifference, as well as people's wanton destruction of the earth's ecological environment, frequent disasters and war conflicts caused by interest struggles between countries. I can't help feeling: what happened to human beings? What happened to the world? Why do you feel that the earth we live in is now in danger? Is it the loss of human spiritual world, or is the ugly window in people's hearts pushed open by a pair of huge invisible evil hands? Are these phenomena caused by individual behavior or belong to group phenomenon or overall moral storm? In the face of all this, as a person who is still full of fresh blood and a contemporary professional painter, what should I do? what can I do?
A series of questions are surging in my heart. As a painter, I think I should do something to awaken people's conscience. But where to start? After much thinking, we finally got the answer. We should start from the roots of "traditional culture" and China culture, and let the public look back at traditional culture by schema method, so as to urge them to take action and have a deeper understanding.
The core of China traditional culture originates from Confucianism, Buddhism and Taoism. I asked many people that they only knew Confucius, but little was known through the film Confucius, and the representatives of the other two companies knew nothing. It is not that people no longer need them, but that the cultural and educational departments in our country have not done enough to promote this knowledge.
Laozi, a thinker in the Spring and Autumn Period and the founder of Taoism, was born with white hair, white beard and white eyebrows. Zi is an ancient title of a saint, so he was named Lao Zi, also known as Lao Zi. His surname is Li Minger, and the word is Bo Yang. He wrote the Tao Te Ching, which is the prototype of the old gentleman in myths and legends. At the beginning of the creation of this series of works, "Lao Zi Return" has been accompanied by such thinking: how to make the picture have cultural communication? How to make the image of Laozi and his ideological system perfectly conveyed in the picture to the greatest extent? These questions have made me think hard for a long time.
I believe anyone who is interested in ancient culture knows that when Lao Zi went to the Western Regions in his later years, Yin, a customs officer of Hanguguan Customs, was forced to write a 5,000-word Tao Te Ching as a disguised red envelope because he didn't have a relevant CD (equivalent to a passport and entry and exit pass), and this book was circulated.
When the society is calling for the return of traditional culture, let's put forward the proposition of "Laozi's return". With this proposition, there will be one. Then, from the Taoist viewpoint of "harmony between man and nature", it is extended to thinking about the relationship between man and nature, man and himself, and man and society. With this, there is a direction of expression, and the rest needs to be said in painting language.
Taoism is not Taoism, I ching and gossip come first, Laozi comes last, and Taoism comes last. There is a complicated relationship between them. How to combine them organically in painting? Several key words come to mind, such as heaven, earth, thunder, wind, water, fire, mountain and ze, which are the eight symbols in the gossip. Think about it and draw a picture. If you are not satisfied, erase it and start over, but you are not satisfied. So many times, gradually forming.
When talking with some friends about creative ideas, they all said, I really hope that your "Lao Zi Return" will come out as soon as possible. Of course, they are all friends who have a certain understanding of traditional culture. In their minds, most of them are literal concepts, and there are few schema impressions. There are only some schema impressions in Chinese painting, such as Laozi becoming a monk, Confucius teaching and six groups of worshipping Buddha. It is empty to use oil painting to reflect traditional culture through modern forms of expression, so they have expectations for my idea. I want more people to know Lao Tzu's life and resume first, and then deeply understand his thoughts through various ways, so as to awaken the public's social consciousness and personal conscience.
When president and Hu Jintao called for the return of traditional culture on different occasions, the Sixth Plenary Session of the Seventeenth Central Committee was held, which put forward the theory of "rejuvenating the country through culture" and the strategic goal of building a cultural power. This coincides with my inner worries about various social phenomena and my hope to influence and improve the audience's cultural awareness with China's oil paintings. As a member of society, I can do my best to do something beneficial to society, and my heart can't help but be full of blood. The series "Lao Zi Return" is the first attempt of this kind of theme. I hope everyone can see this series of works, and I also hope that friends who have in-depth research on Chinese studies will give me more valuable opinions. I want to use the following painting to express my love for Chinese studies and pray that it can be passed down from generation to generation!
Mountaineering is full of emotion, while watching the sea is full of meaning.
Text: Liu Nian
When expressing "Suzhou Garden", an ancient and classic building in China, an unprecedented sense of carefree has been floating between Dantian and Tianjing. The pure sky and water, the trees want calm poetry, and the whispering of architecture seem to hear the songs of nature in silence, which makes me transcend the mundane and mean. My soul hit my trunk and flew between heaven and earth with the wind.
In this noisy world, it is a pleasant thing to have a moment of inner peace and detachment.
I don't care how far I can go on the road of combining Chinese and western, but I will definitely go on, because the blood of the Chinese nation is flowing in my body, using the medium of western oil painting.
When the relative subjectivity in Chinese painting collides with the relative objectivity in western painting, it always arouses ripples in my heart. I often have a deep attachment to the deep and quiet artistic conception shown in Chinese painting works, and to the truth, strength, speed and rhythm contained in oil painting.
China culture has a long history, and there are inexhaustible materials for expressing humanity, religion and history. By expressing them, we can arouse more people's love for traditional culture, and this social value is my sincere expectation.
East wind, west wind
Text: Liu Nian
Are works of art popular, money games for the rich, or even political tools? Does oil painting pay attention to visual impact or inner feelings? Does this art form belong to his essence?
In the past few decades, China people have developed from solving food and clothing to pursuing spiritual home, much faster than other western developed countries. In this process of rapid development, there are bound to be many problems and puzzles, including many values. (This also includes the value of works of art)
1949 During the period of reform and opening-up, under the slogan "All imperialism is a paper tiger", China people were blindly arrogant and galloped freely in the Red Sea. Over the past 30 years of reform and opening up, various western values have continuously impacted China society, both good and bad. Many of them were consciously and forcibly instilled into China people by western society, with obvious purposes and interests, but we all accepted them. This phenomenon is classified as cultural aggression. As a result, utilitarianism, materialism and hedonism are rampant in the whole society, and the art world cannot be immune to it. Especially in the field of oil painting, under the baton of western society, most people lost their sense of self-dominance, became confused, and then blindly followed. Not surprisingly, oil painting has no history in China.
When people's material life is gradually satisfied, they are also slowly reflecting on the significance and value of existence. How does the essence of China traditional culture connect with universal values? Can we treat western culture with an equal attitude, neither arrogant nor impetuous, neither humble nor supercilious.
Oil painting is just a medium, in a broad sense, it belongs to all mankind. I only regard it as a means to spread the traditional culture of the Chinese nation to the whole world and pass on the truth, goodness and beauty to everyone.